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It is the kind of unlikely, motley crew story that should end up, if not somewhere striking between Ocean's Eleven and The Holy Mountain, then, at the very least, somewhere goofily enjoyable like The Italian Job remake. Suicide Squad is a promising comic book idea, that of an exploitative government programme to rehabilitate supervillains by turning them into an expendable, nothing-to-lose team sent into the stickiest situations. (This montage-y, music-video method of filmmaking would hurt a great deal less if Ayer's playlist was less obvious - and less literal - for here the filmmaker underscores the entry of a badass with Sympathy For The Devil, a getting-together of seven villains with Seven Nation Army, and the return of a character with Eminem's Without Me, a song that keeps repeating the words 'Look who's back.' Watching serial killers and psychopaths getting all wistful feels plain moronic when it's set to Freddie Mercury trilling ' Mama, I just killed a man'.)
#EMINEM WITHOUT ME SUICIDE SQUAD MOVIE#
This is less an actual movie and more an assemblage of moments, moments mostly to do with popular music appropriated around shots of spectacle, with every single scene trying to hit a crescendo of cool and the film, thus, failing to find any peaks at all. Watching David Ayer's Suicide Squad feels exactly like being trapped in an elevator with an enthused iPod-wielding kid. We'd play a slice of one and a riff from another, skipping restlessly from song to song in order to spread what we felt was awesome - and show off our discovering ears - as widely as we could. We used to carry around a tape or a CD and play someone a track or two, but when we started easily (and indiscriminately) lugging around our entire vaults, the temptation to jump from one track to another got too intense. Remember how the iPod changed the way we shared music?